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Full text of "Movable stationery"

MOVABLE STATIONERY 



Volume 3 Number 4 



June 1995 



So What do They Package? 

Robert Sabuda 

'"What is a packager?" is one of the most frequently 
asked questions I hear at children's book author/artist 
conferences. 

In standard juvenile publishing there is the author and 
artist (unless they're one in the same) and the publishing 
house. Pretty simple. But when a pop-up or other type of 
novelty book is produced things get a little trickier. Most 
publishing houses do not have the expertise (nor the 
time) to design and execute a movable book from start to 
finish. It's bad enough that they have to spend so much 
time copy editing and color proofing their flat picture 
books. But correcting die molds and overseeing 
assembly, too? Forget it! 

That's wheTe the packager comes in. Most packagers 
are unaffiliated with the publishing houses. They bring 
ideas and concepts to the houses and then guide the 
project through its entire production until the books are 
delivered to the publisher's doorstep. The publisher 
writes out a check for the whole lot (the publisher is 
obligated to buy every copy) and then treats the book as 
one of their own, marketing and distributing it with the 
rest of their juvenile titles. 

"Does one get paid the same way from a packager?" 

No, but this is not necessarily bad. When an 
author/artist signs a~ contract for a flat picture book he or 
she gets an advance plus a royalty (against the advance) 
for a percentage of the retail price of the book. With a 
packager the royalty is a percentage of the base price of 
the book. The base price is the cost the packager sells the 
book to the publisher for. 

For example, if you are the author/artist of a picture 
book that retails for $20.00 and receive 10% royalty, you 
get $2 00 for every copy sold If you are the author/ 
illustrator (and maybe paper engineer) for a pop-up book 
that retails for $20.00, you do not get $2.00. A $20.00 
book has been marked up by the publisher 75% - 80% 
from the base price, which in this case makes the base 
price about $4.50. Your percentage comes from that 



$4.50. If the royalty is 10% you get 45 cents for each 
book. 

"But that's hideous! You should get the $2.00" 

Maybe. But you have to remember a couple of things: 
One, the average first printing for a picture book is 
10,000 to 20,000 copies. The average pop-up book has 
a first printing of 40,000 to 80,000 (the packager will sell 
foreign rights like mad, which the publisher may be more 
cautious and wait to see how the book does). And, two, if 
the picture book doesn't sell well you only get a 
percentage of those books sold With pop-up titles the 
publisher must buy all the books so your percentage is 
guaranteed for every book. Which is very nice on payday! 

"So which is better, a publisher or packager?" 

If you don't have any background or experience in 
novelty books but have a pop-up idea, you're better off 
going to a packager. They can represent you and your 
concept in the most enticing fashion for a publisher. 

A publisher will most likely only work with someone 
directly on a pop-up project who can execute all the 
necessary die drawings, nesting sheet (a large sheet that 
all the pop-up pieces will be cut from like a giant jigsaw- 
puzzle) and answer any and all questions pertaining to the 
assembly. A big job requirement for one person! But it 
has the advantage of dealing directly with the publisher. 
With a packager, the author/artist/engineer sometimes 
falls out of the loop of communication since so many 
people become involved with the project: the editor at the 
packager, the art director at the packager, the paper 
engineer at the packager, the production coordinator at 
the packager, then the editor at the publisher, the art 
director at the publisher and the marketing people at the 
publisher! That's a lot of people putting in their two cents 
worth on your project. And trust me, they do. 

"A pop-up book sounds like so much work. Is it 
worth it?" 

Absolutely. There's nothing like ripping the shrink 
wrap off your latest title (while the employees at the book 
store scream that there's already a display copy open) 
and watching your book come to life! 



The Movable Book Society 

Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. Advertising 
is accepted free of charge from members and is included 
when space permits. The annual membership fee for The 
Society is $15.00. For more information contact Ann 
Montanaro, The Movable Book Society, P.O. Box 
1 1654, New Brunswick, New Jersey 09806. 
Daytime telephone: 908-445-5896 
Evening telephone: 908-247-6071 
e-mail: montanaro@zodiac.rutgers.edu 
Fax: 908-445-5888 

The deadline for the nest issue is August 15. 



"Poppin' up and "movin' on" 

A dialogue with the bookbinder 

Removing tape, part 3 

Bill Streeter with Jill Deiss 

This is the final installment in our series on removing 
tape from book covers and pages - it describes treatments 
that are potentially dangerous for both the book and the 
bookbinder. We will discuss here the use of solvents 
(other than water) that can be employed in lifting tape 
from books. 

Let us state here unequivocally that the techniques and 
materials we discuss are those we use in our shops, and 
we aren't specifically recommending them for yours - we 
are merely reporting how we operate. Before we started 
working with these techniques and materials, we each 
studies under conservators professionally trained in 
working with hazardous chemicals such as solvents. We 
cannot overstate the importance of seeking professional 
tutelage prior to undertaking the sort of work outlined in 
this article. These solvents are potentially dangerous to 
the materials being treated, and more importantly, SOME 
PEOPLE HAVE SEVERE LIFE-THREATENING 
REACTIONS TO CONTACT WITH SOLVENTS. 

We recommend you obtain a copy of The artist 's 
complete health and safety guide by Monona Rossol 
GSBN 0-927629- 10-0) This book describes the proper 
use and potential health risks of the materials used by 
artists and craftspeople. In addition, publications called 
"Chemical Safety Data Sheets" (each chemical has its 
own Chemical Safety Data Sheet) are published by the 
manufacturers of chemicals and give valuable 
information for all the solvents mentioned in this column. 
Request these data sheets from a chemical supplier (who 
often can aid in the interpretation of these sheets - as can 
chemists in industry, academia. or conservation 
facilities). 



When faced with a situation where all attempts to 
remove tape with moisture or by mechanical means have 
failed, it would appear that a solvent stronger than water 
is necessary. Always remember when attempting such 
treatments it is essential to test the stability of dyes and 
inks that are under or in the vicinity of the tape that is to 
be removed. This is done as described in earlier segments 
of this series: place a dot of solvent (Vfe diameter or 
smaller) on each variety of print or color that would come 
in contact with solvent during the planned tape removal. 
Roll the area with a cotton wand to see if the ink or dye is 
not stable in the solvent, and that particular solvent 
cannot be used In this case, try other solvents until one 
is found that will remove tape and not disturb the ink or 
dye around the tape. It is advisable to test and re-test 
areas several times before actually declaring the solvent 
safe for the inks and dyes in question. If at all possible it 
is best to have a fume hood in which to do such work. 
Fume hoods are available from scientific supply houses 
or information useful for construction of a fume hood can 
be found in the volume Ventilation by Nancy Clark 
(Lyons and Burford, 1984). If a fume hood is not 
available, a respirator affixed with organic solvent filter 
cartridges should be worn while working with solvents. 
Working outside can also help reduce your personal risk 
but may jeopardize the security of the item undergoing 
treatment. Always wear rubbeT gloves when working 
with solvents as many solvents are harmful to your skin. 
Also, some solvents can enter your system through your 
skin as well as through your lungs. We find it beneficial 
to use a medium-sized fan (blowing out from the tape 
removal work) to draw fumes from the solvents away 
from the work area. We most often use this in 
conjunction with any work we do outside. In using a fan 
for this purpose, be mindful of where the fumes are being 
drawn to. 

Our techniques for using solvents require introducing 
the solvent underneath the plastic carrier of the tape to 
get to the adhesive that is holding the plastic carrier to the 
book or page. Using a dropper, a solvent can be worked 
under tape at the site where it is attached or from the 
backside, however, on the binding it is usually not 
possible to work solvent under tape from the backside as 
the cover is often too thick for the solvent to penetrate. 
As the solvent is saturating the area with tape on it, try 
lifting the edge of the tape with tweezers or a scalpel. If 
the tape begins to lift continue to feed solvent (with the 
dropper) under the tape and proceed to lift the tape away 
from the book as the adhesive releases. After the plastic 
carrier has been removed, it is usually necessary to clean 
the area where the tape was adhered - often residual 
adhesive is left behind and must be removed by working 
solvent over the area and either gentry scraping the 
remaining adhesive away with a scalpel or rolling it off 
using a cotton swab. Continued on p«g* 5 



Movable Reviews 



Awful Weak 




Robert Sabuda 
Good Fabulous 






All creatures great and small . Illustrated 
i ** » by Don page. Engineering by Damian 

Johnston. Random House. $4.50 US, $5.95 
Canada. 0-679-87218-3. 3 1/4" x 3 1/4". 5 spreads, 
accordion bound. 5 pops. Art: Humorous pen, ink 
and watercolor. Plot: Brief religious theme featuring 
animals. Greeting card flavor. Engineering: Very 
Simple. Also: Now the day is over, 0-679-87217-5. 

Babette Cole's cats. Engineering by Bruce 
> 4 ^ Reifel. Warner Treasures. $4.95 US. 

0-446-91067-8. 3 1/2" x 4 1/4". 5 spreads, 
accordion bound. 5 pops. Art: Outrageous, wild 
watercolor. Plot: Humorous, rhyming text about 
adventures and misadventures of cats. Classic Cole. 
Engineering: Simple. Also: Babette Cole's dogs, 
0-446-91068-6; Babette Cole's fish, 0-446-91070-0; 
Babette Cole's ponies, 0-446-91071-6. 

Baby Clown. By Thierry Dedieu. 
> Engineering by Jerome Bruandet. Hyperion. 

$12.95 US, $16.95 Canada. 0-7868-0075-5. 
8 1/4" x 8 1/4". 7 spreads, accordion bound. 6 tab 
mechanisms ( 1 makes sawing noise), 1 revolving 
wheel. Art: Bright, bold, heavily brushed oil or 
acrylic. Plot: Baby Clown prepares and performs in 
the circus. Wonderfully understated engineering 
and beautiful artwork. Engineering: Simple. 

The butterfly: A circular pop-up book. 

By David Hawcock Illustrated by Bryan 

Poole. Hyperion. $6.95 US. 
0-7868-0098-4. 5" x 5". 1 large circular fold-out 
(18" diameter) containing 6 pops. Art: Realistic 
watercolor. Plot: Life cycle and migration of the 
butterfly. Illustrations and pops are dull. Engineer- 
ing is fragile. Circular fold-out merely falls out of 
book unsupported. Engineering: Very simple. 
Also: The frog, 0-7868-0099-22, The salmon, 
0-7868-0100-x, The swallow, 0-7868-0101-8. 

Dinosaur pop-up ABC By Arlene 
1 3 t Maguire. Illustrated by Paul Mirocha. 

Engineering by Dick Dudley. Little Simon. 
$14.95 US, $19.95 Canada. 0-671-89076-x. 10" x 
8". 7 spreads, signature sewn. Approx. 15 pops. 







Art: Realistic watercolor and airbrush. Plot: A 
dinosaur with a small amount of personal informa- 
tion at each letter. Nice engineering, but standard 
dinosaur fare. Engineering: Somewhat complex. 

Help, mama, help!: A touch-and feel 
pull-tab pop-up book. By Shen Roddie 
Illustrated by Frances Cony. Engineering 
by Shonagh Rae. Little Brown. $14.95 US. 
0-316-75357-2. 9" x 9 1/2". 11 spreads, signature 
sewn. 1 pop, 4 tab mechanisms plus various items to 
touch and feel. Art: Humorous pen, ink and 
watercolor. Plot: A baby chick camps out for the 
first time and encounters animals and a scary 
shadow. Cute and simple. Engineering: Simple. 

The honeybee and the robber: A moving 
pictures pop-up book. [Reissue from 1982] 
By Eric Carle. Engineering by James 
Roger Diaz, Tor Lokvig, and John Strejan. 
Philomel. $17.95 US. 0-399-20767-8. 8 1/4" x 11 
1/2". 8 spreads, accordion bound. 1 pop, 8 tab 
mechanisms, 1 flap. Art: Paper collage. Plot: A 
hungry bear tries to steal honey from some very wise 
bees. Typically beautiful art by Carle, fun engineer 
ing. Last spread's lengthy thesis on bees seems a bit 
heavy handed. Engineering: Somewhat complex. 

Joan Walsh Anglund's Mother Goose 
pop-up. Engineering by Bruce Reifel. 
Little Simon. $11.95 US, $15.50 Canada. 
0-671-87079-3. 7 1/4" x 8 3/4". 6 spreads, 
accordion bound. 5 pops, 4 tab mechanisms, 4 flaps. 
Art: pen, ink and watercolor. Plot: retelling of 8 
basic Mother Goose rhymes. Illustrations trite and 
weary. Engineering: Simple. 

Just you and me, grandpa: A pop-up story 
about a special day. By Marcy Heller. 
Illustrated by Joanna Yardley. Joshua 
Morris. $9.95 US, $13.95 Canada. 0-89577-664-2. 
7 1/2" x 6". 6 spreads, signature sewn. 4 pops 
(2 threaded with black string for fishing line), 2 tab 
mechanisms, 2 flaps. Art: Realistic pencil and 
watercolor. Plot: A boy and his grandfather go on a 
politically correct fishing trip. Pleasant and obvious. 
Engineering: Somewhat complex. 

Leonardo Da Vinci: A three-dimensional 
study By Jerome R. Corsi. Engineering by 
Paul Wilgress. Pomegranate Artbooks. 
$19.95 US. 1-56640-988-8. 9 3/4" x 11 1/2". 
6 spreads, accordion bound. 5 pops, 2 tab mech- 
anisms. Art: Da Vinci reproductions. Plot: Studies 








of Da Vinci's inventions and artwork. Well intended 
but a bit underwhelming. Worth a look. 
Engineering: Simple (spreads 2 and 6: Complex). 

Maisy 's ABC. By Lucy Cousins. 
' Candlewick Press. $12.95 US, $14.95 
Canada. 1-56402-419-9. 7 1/2" x 7 1/2". 
8 spreads, accordion bound. 9 tab mechanisms, 6 
flaps. Art: Colorful, brushy tempra or acrylic. Plot: 
The popular mouse returns in an ABC adventure 
that features one (obvious) image per letter of the 
alphabet. Light and fun. Engineering: Simple. 

^A^. One to ten pop-up surprises! By Chuck 
rtjLj* Murphy. Little Simon. $12.95 US, $17.50 
■«3/*" Canada. 0-671-89908-2. 6 1/2" x 6 1/2". 
10 pages, accordion bound 8 pops, 2 tab 
mechanisms. Art: Realistic watercolor and airbrush. 
Plot: Each page contains an image(s) behind a large 
flap in the shape of a number. Nice artwork and no 
two pops the same. Engineering. Complex. 

Pink drink: A pop-up book of color 
3^ rhymes. By S. Simeon. Illustrated by 
Chris Reed. Little Simon. $8.95 US, 
$11.50 Canada. 0-671-89833-7. 5 7/8" x 5 7/8". 
5 spreads, accordion bound. 10 pops hidden behind 
full page flaps. Art: Humorous pen, ink and water- 
color. Plot: Rhyming words and colors. Quirky fun. 
Engineering: Simple. Also: In and out and round- 
about: A pop-up book of directions, 0671-89832-9. 

The pop-up farm. By Rod Campbell. 

Little Simon. $4.95 US, $6.50 Canada. 

4"x4". 0-689-71834-9. 8 spreads, 
accordion bound. 2 pops, 4 tab mechanisms, 1 flap. 
Art: Pen, ink and watercolor. Plot: A small mouse 
encounters many farm animals on it's way home. 
For very young readers. Engineering: Very simple. 

Robert Crowther's incredible animal 
alphabet. Candlewick Press. $14.95 US, 
$19.95 Canada. 9 1/4" x 9 1/4". 
1-56402-427-x. 6 spreads, accordion bound. 18 pull 
tabs (no mechanisms), 38 flaps. Art: Humorous pen, 
ink and watercolor. Plot: Each page is covered with 
the names of the animal in bold, black type on top of 
white flaps. Underneath (or pulled out) is the 
animal. Nice design. Engineering: Very simple. 

Say no, little fish. By Carla Dijs. Little 
Simon. $7.95 US, $10.50 Canada. 7 1/2" 
x 7 3/4". 0-671-50742-7. 6 spreads, 
accordion bound. 6 pops. Art: Bright, humorous 








pen, ink and airbrush. Plot: Fish heeds it's mother's 
warnings about strangers. Standard Dijs. Engineer- 
ing: Very simple (except for one large octopus). 
Also: Hurry home, hungry frog, 0-671-50707-9. 

Snack Pack: A pop-up book in every box! 

1 3 * Concept and stories by Edmon J. Rodman, 
Illustrations by Ted and Linda Bick. Little, 
Brown. $8.95 US, $11.95 Canada. 3 small boxes, 
2 3/4" x 4", each containing one, 6 spread, accordion 
bound book. 6 pops per book. Art: Flat, graphic, 
bright colors outlined in black. Plot: Each book 
deals with recognizing and counting a shape (circle, 
triangle, square). For very young readers. Books 
are somewhat fragile do to lack of hard cover. 
Engineering: Simple. 

There was a crooked man. Illustrations by 
Kevin O'Malley. Little Simon. $9.95 US, 
$13.00 Canada. 6 1/2" x 8 3/4" (crooked ). 
0-671-89477-3. 6 spreads, accordion bound. 
4 pops, 4 tab mechanisms. Art: Humorous pencil, 
watercolor, pastel. Plot: Tradional rhyme of living 
in a crooked world. Cute, but not much more. 
Engineering: Simple 

"What's new?" asked the Gnu By Arnold 
Shapiro. Illustrated by Wendy Paris. 
Engineering by Dick Dudley. Dial Books. 
$12.95 US. 7 3/4" x 10". 0-8037-1627-3. 6 spreads 
accordion bound. 10 pops, 5 tab mechanisms. Art: 
humorous watercolor. Plot: Rhyming word play 
from anthropomorphic animals. A few illustrations 
seem garish. Engineering: Somewhat complex. 

77je reviewer is a an award winning children's book 
author/illustrator and Gold Medal recipient of the 
1994 Dimension Illustration Awards for paper 
engineering. 

Catalogs Recently Received 

Each of these catalogs includes 
pop-up or movable books. 

Al Dairy mple, Bookseller. Catalogue #17. 1791 
Graefield, Birmingham, MI 48009. 810-649-2149. 

Bibliomania. 1539 San Pablo Ave Oakland, CA 
94612.510-835-5733. 

Books of the Ages Catalogue No 6. Gary 
Overmann, 4764 Silverwood Dr. Batabia, Ohio 45 103. 

Jo Ann Reisler, Ltd. Catalogue 30. 360 Glyndon 
St. NE. Vienna, Virginia 22180. 703-938-2967. 

Mr. Books. Pop-up Book List #11. 9019 N. 51st 
Ave. Glendale, Arizona 85302. 602-93 1-9035 or 800- 
743-3252. 

Robin Greer 29 Oxberrv Ave. London SW6 5SP. 
0171-736-3707. Fax: 0171-731-8353. 




Removing tape, continued from page 2 

A technique useful in tape removal is called 
"poulticing." For poulticing, dampen cotton with solvent 
and lay it over the area you wish to saturate with solvent. 
You can poultice either on the top or underside of the 
tape. For the more volatile solvents it is useful to lay a 
thin sheet of mylar over the saturated cotton (this keeps 
the solvent from evaporating as quickly as it would if left 
uncovered - if the solvent evaporates too fast, it doesn't 
have time enough to work to loosen the tape's adhesive). 
Always use a small amount of solvent - the smallest 
amount that will do the job. An excess of solvent can 
result in a stain, called a "tideline," that outlines the area 
dampened by solvent. Using a minimal amount of solvent 
will reduce - but not eliminate - the risk of creating a 
tideline. 

It sometimes works to stuff cotton dampened with 
solvent into the bottom of a jar and turn the jar upside 
down over the area that needs contact with a solvent - 
sometimes fumes from a solvent are adequate for the 
removal of tape. It may be necessary to push a piece of 
flexible screen into the jar down over the cotton to keep 
the cotton from falling out when the jar is inverted. This 
technique requires much longer to be effective than 
techniques involving direct contact of solvent with the 
book, however, using the cotton in the bottom of a jar is 
the most secure method for removing tape from the book 
as the book in no way becomes dampened by a liquid, 
and thus the risks to the book are minimized. 

In our shops we try to avoid using solvents other than 
water. If a book has tape that absolutely will not lift 
mechanically or with water, we then must decide whether 
to use solvents on the item. This decision comes after 
consideration of factors such as the worth of the item vs 
the extremely toxic nature of the solvents, and the client's 
needs combined with our personal preference to avoid 
contact with toxic solvents. 

When it becomes necessary to use solvents in tape 
removaL we start by using the least toxic solvents and 
gradually moving up through the more toxic solvents. 
The first solvents we would try for removing tape is 
ethanol (ethyl alcohol). If ethanol does not prove 
effective, we would next try amyl acetate. Amyl acetate 
(N-Amyl alcohol) is a naturally occurring material (often 
known as "banana oil" as it is one of the components of 
the flavor in bananas and pears) and is a major solvent 
used in industry. Amyl acetate almost always works in 
removing medical and surgical tape and in lifting "duck" 
tape More harmful to humans are solvents including 
acetone, heptane, and toluene. Under no circumstances 
should you use these solvents without proper ventilation 
(as described in the previously-cited book Ventilation). 
There are times, howeveT, when nothing but these 
dangerous solvents will remove tape from a book. The 
clear pressure sensitive tapes often will not lift with 



ethanol or amyl acetate, whde one of these more toxic 
solvents will likely do the work. Again, whenever we use 
solvents in our shops we try the least harmful solvents 
first (ethanol and amyl acetate), then we try heptane, and 
then (in this order) we use acetone and toluene. 

Solvents can be purchased through some bookbinding 
suppliers as listed in the Guild of Bookworkers ' guide to 
suppliers. Some hardware stores sell solvents. Solvents 
come in technical grade and purified grade. Purified 
grade is without impurities of any kind. Technical grade 
contains a variety of impurities (usually inert). These 
impurities are outlined in the chemicals Chemical 
Technical Data Sheet The items you are treating are best 
served if you use purified grade, however, if you are 
knowledgeable about chemicals and their use, there may 
be instances in which the less costly technical grade may 
be substituted for the purified grade, however, if you are 
in doubt, always use the purified solvent. 

One last time let us say: you need at the very least a 
solvents respirator, and we highly recommend that you 
have a fume hood. Try not to use the more harmful 
chemicals at all (acetone, heptane, toluene). Only use 
these solvents if absolutely necessary. Please read all 
about the potential hazards of these and all chemicals 
before using them. We cannot overemphasize the care 
with which you need to handle such materials. If at all 
possible, remove tape using the techniques we have 
described in part I and part II of this series. If you can see 
you will need to use these solvents in your work, please 
seek an internship or apprenticeship in the hope of a 
conservator who regularly and properly uses these 
materials and other solvents not included in this article. 



Questions and Answers 

Q. Is The Best of 3D Books available? 

A. Kinokyniya Book Stores recently had copies for sale 
for $75.00. The address is: 123 Astronaut Ellison S. 
Onizuka St. Suite 205, Los Angeles, CA. 90012. 213- 
687-4480 or Fax: 213-621-4456. 

Ellen Rubin 



A. In response to the question posed by Joanne Page 
(Movable Stationery, vol. 3, no. 3.) requesting 
information about The adventures ofSinbad the Sailor, 
Bancroft & Co. Ltd, Westminster, London. 1960. Artia 
Prague. 

This title is the fourth - bearing the printing number 
344 - from a series of four books designed and illustrated 
by Jaroslav Beza and Frantisek Sklar and originally 
published in Czech and German editions in 1959. The 
first three titles are: 



Aladdin and his magic lamp. No. 341. 
Alibaba and the forty thieves. No. 342. 
The fisherman and the demon. No. 343. 

All other bibliographic dates are identical to the 
Sinbad title. For Alibaba... and The fisherman... see 
Montanaro p. 6 and p. 94. Maybe the Aladdin... is in 
Montanaro, p. 5, but in that case the illustrations are 
mistakenly credited to Kubasta; besides, there are in the 
Aladdin from this series two pop-ups! 

As far as I know, Kubasta only did one Aladdin title, 
published just in Czech, measuring about 250 x 250 mm 
and done in, for him, rare shadow-box technique. 

Theo Gielen 



New Publications 
The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or adver- 
tising. All titles include pop-ups unless otherwise 
identified 

Creepy crawly crunch cake. Mouse Works. August. 
10 '/«x8 '/«. $8.98. 1-57082-280-8. 



Mso.Dare you go into the jungle.0-307 -14552-2 
Dare you go over the hill. 0-307-14553-7. 
Dare you go under the sea. 0-307-14550-6. 

Disney 's Winnie the pooh 's nightmare: A pop-up book. 
Disney Press. August. 8 x 10. $12.95. 0-7868-3019-0. 

Dogs: Our faithful friends. Andrews & McMeel. $4.95. 
3x3 Vi. 16 pages. 0-8362-0046-2. 

Food, glorious food. Andrews & McMeel. $4.95. 
3x3 Vi. 16 pages. 0-8362-0048-9. 

Gardens: Peaceful places. Andrews & McMeel. $4.95. 
3x3 V 2 . 16 pages. 0-8362-0047-0. 

Golf: Words from tiie green. Andrews & McMeel. 
$4.95. 3 x 3 Vi. 16 pages. 0-8362-0051-9. 

Sentiments of love. Andrews & McMeel. $4.95. 3 x 3 Vi. 
16 pages. 0-8362-0052-7. 

Women: A celebration. Andrews & McMeel. $4.95. 3 x 
3 V 2 . 16 pages. 0-8362-0055-1. 




Dare you go into the forest: A spooky cut-out pop-up 
book Golden Books. 16 pages, [one pop-up] 7 V* x 7 Vi 
$5.95.0-307-14551-4. 



MOVABLE STATIONERY 

The Movable Book Society 

P.O. Box 11654 

New Brunswick, New Jersey 08906